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Overkill

Horrorscope

Horrorscope is the fifth studio album by Overkill, originally released on September 3, 1991 through Atlantic and Megaforce Records. It was the first Overkill album to feature the duo of guitarists Merritt Gant and Rob Cannavino,

No Remorse

Originally released in 1984, was compiled by Lemmy and covers their Bronze Records years, 1978 - 1984; Includes hits, b-sides, & alternate versions; 1st album to feature the line-up of Lemmy, Phil Campbell; Features the classics "Ace of Spades", "Killed By Death", "Bomber", "Iron Fist", "Overkill" & more.

The Grinding Wheel (Yellow And Black Vinyl) (Pre-Order)

Pressed On Yellow And Black Vinyl

Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

Uncle Anesthesia

After releasing three albums with Greg Ginn's underground label SST, Screaming Trees broke through in 1991 with Uncle Anesthesia on major label Epic. The band, fronted by Mark Lanegan (who would go on to collaborate solo with band members of Nirvana, Queens Of The Stone Age, Guns 'N Roses and Foo Fighters) is known for its raw psychedelic, whiskey voiced garage rock. This harder edge set the band apart from Seattle grunge contemporaries Alice In Chains and Soundgarden, gaining a loyal fanbase in the process. Uncle Anesthesia is produced by Chris Cornell (Soundgarden, Audioslave) and metal producer Terry Date, known for his recordings of Pantera, Prong, Overkill and White Zombie.

1. Beyond This Horizon2. Bed Of Roses3. Uncle Anesthesia4. Story Of Her Fate5. Caught Between6. Lay Your Head Down7. Before We Arise8. Something About Today9. Alice Said10. Time For Light11. Disappearing12. Ocean Of Confusion13. Closer

The Grinding Wheel (Awaiting Repress)

Armed with pioneering pure metal proposals like "Death Rider," "The Beast Within," and "Raise The Dead" already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby "Blitz" Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. "It just makes sense for us," reflects D.D. "If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing "Grinder," the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work."

"One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time," seconds Blitz. "Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics."

Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in "Come Heavy" and Iron Maiden in "The Long Road" and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

"Punk is huge for Overkill," confirms Verni. "And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world."

Central to that premise is the incendiary "Let's All Go to Hades" which is sure to become a pit favourite. "This one was a hell of a lot of fun," says Blitz. "You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more."

Adds D.D., "It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes."

Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is "Our Finest Hour." "It's about the recognition of sameness," explains Ellsworth. "I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune."

At the other end of the spectrum from punk is a song like "The Long Road." D.D. readily agrees that there was a Maiden influence as part of this one's crafting. "Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

More evident in the band's panoramic classic metal passages, but even articulated here on "Our Finest Hour," is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

"I've had that kind of sound now for a long time," says Verni. "There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars."

This affects the writing as well, says Blitz. "Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds."

Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

"That's the strength of the band," explains Blitz. "Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization."

And Ron? "He's one-of-a-kind," says Verni. "He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it."

After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

"I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

"For sure," says Blitz. "One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear."

Ace Of Spades

Ace of Spades was the fourth album by the British heavy metal giants, Motorhead and its famous for featuring the band's trademark song of the same name as well as for being a major influence in the development of thrash metal. The classic lineup of Lemmy on bass and vocals, 'Fast' Eddie Clarke on guitar and 'Philthy Animal' Taylor on drums was intact and was on a serious roll following the release of both Overkill and Bomber a year earlier. Ace of Spades brilliantly summarizes everything that made this early incarnation of the band so legendary, making it the ideal Motorhead album. Reissued here on 180 gram Vinyl LP!

1. Ace of Spades2. Love Me Like a Reptile3. Shoot You in the Back4. Live to Win5. Fast and Loose6. (We Are) The Road Crew7. Fire, Fire8. Jailbait9. Dance10. Bite the Bullet11. The Chase Is Better Than the Catch12. The Hammer

Bomber

Bomber was the third Motörhead album to be released (although the fourth to be recorded - see On Parole). It was recorded in 1979, the same year as Overkill. The album reached number 12 on the UK charts and brought some of Motörhead's most popular songs, like "Bomber", "Dead Men Tell No Tales" and "Stone Dead Forever".

Rock And Roll Submarine (Awaiting Repress)

First Urge Overkill Album in 16 Years!

Almost two decades since their Exit the Dragon album and it's Pulp Fiction hit Girl, You'll Be A Woman Soon, founding members Nash Kato and Eddie Roeser have decided to reform the group. Joined by former Gaza Strippers guitarist, Hadji Hodgkiss on bass and Cherry Valence's Bon Quast on drums, the Chicago band released the first song off the new album, Effigy in the Fall of 2010 to great response from fans and critics alike. With the energy of their past album's fusion of arena rock and punk coupled with the evolution of Kato and Roeser's songwriting over the years, Rock & Roll Submarine is set to deliver a new breed of Urge Overkill to the eagerly awaiting masses.

Ace Of Spades

Ace of Spades was the fourth album by the British heavy metal giants, Motorhead and its famous for featuring the band's trademark song of the same name as well as for being a major influence in the development of thrash metal. The classic lineup of Lemmy on bass and vocals, 'Fast' Eddie Clarke on guitar and 'Philthy Animal' Taylor on drums was intact and was on a serious roll following the release of both Overkill and Bomber a year earlier. Ace of Spades brilliantly summarizes everything that made this early incarnation of the band so legendary, making it the ideal Motorhead album.

1. Ace of Spades2. Love Me Like a Reptile3. Shoot You in the Back4. Live to Win5. Fast and Loose6. (We Are) The Road Crew7. Fire, Fire8. Jailbait9. Dance10. Bite the Bullet11. The Chase Is Better Than the Catch12. The Hammer

Motorhead

$14.99

Vinyl LP - SealedHurry, only 1 left! Usually ships within one business day!Buy Now

Die Screaming

Something sinister is looming in the mist - a ghastly three-headed apparition, equal parts riffage & rancour and fuelled by a steady diet of garage rock 7-inches played at 33RPM and horror movies watched at 5AM, the primeval force of Satan's Satyrs is returned to the earth to lay waste to everything in its path.

Rising from the primordial ooze of Herndon, Virginia Satan's Satyrs hit the metal underground like a tidal wave of sulphur with their debut proper, 2012's Wild Beyond Belief. This almighty assault, almost entirely the work of chief Satyr Clayton Burgess, was a harrowing blast of fuzz-drenched aggro - a clash of Venom-esque metalpunk squalor and in-the-red garage-rock dementia.

With Jarrett Nettnin soon joining the fray on guitar and Stephen Fairfield on drums, the power-trio were soon invited by Electric Wizard to 2013's Roadburn Festival, which they graced with two scorching sets, one being entirely comprised of cuts by their heinous heroes Blue Cheer. Yet the three-piece, despite being barely into their twenties, weren't about to rest on their laurels. What's more, the result of their onward march into grisly pastures new is the more mature yet no less malicious new opus, 'Die Screaming' which sees it's European release via Bad Omen Records in 2014.

This time around, the band set about expanding their sound, maintaining their trash-obsessed aesthetic whilst sharpening their songcraft to produce an album possessed of both mighty heaviosity and incisive hooks. Bolstered by roaring Hammond and percussive ornamentation that bring still more Hammer Horror atmosphere to the fray, 'Die Screaming' transcends the band's Black Sabbath, Stooges and Black Flag influences to arrive at a relentlessly gory and gung-ho assault on the senses. One minute, this terror-troupe are dishing out the rotten rock n'roll of 'One By One (They Die) and Curse Of The Corpse, which stalk the Earth like the reanimated corpses of Budgie and Blue Oyster Cult records past. The next, on the jaw-dropping title-track, they're throwing Death SS, the Alice Cooper of Sick Things and Scott Reagers-era Saint Vitus into a bubbling cauldron and standing well back. Yet at all times Satan's Satyrs' gonzo attack is authentically red in both tooth and claw.

Rising high above the overkill of self-styled occult rock that lurks in the underground at present. Satan's Satyrs are blazing a trail through a nightmarish world of battered VHS videos, overheated ampstacks and dog-eared vinyl, and are a band fit to set the pulse of any self-respecting trash connoisseur racing. With 'Die Screaming', they're set to carry out the Devil's bidding across the globe with uniquely sordid and salacious style.

Low (Pre-Order)

Testament is often credited as one of the most popular and influential bands of the thrash metal scene, having sold over 14 million albums worldwide.

Testament in their early years supported legendary acts such as Iron Maiden, Black Sabbath, Anthrax, Megadeth, Overkill, Judas Priest, and Slayer. They also gained critical recognition for embarking on the European Clash of the Titans tour with Slayer, Megadeth, and Suicidal Tendencies. To this day, the band continues to record and perform live.

Music On Vinyl is proud to present the re-issue of their sixth studio album, Low. This album is regarded by their fans as one of their best ever.

Cargo (Awaiting Repress) (On Sale)

A New-Wave Touchstone: 1983 Sophomore Album Picks Up on Momentum of Band's Debut

Contains Top 10 Hits "It's A Mistake" and "Overkill"

Spectacular Sonics: Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI

Men at Work already had an album in the Top Ten when the Australian ensemble released Cargo, which continued the momentum gained by its record-setting debut. As ambitious and even more diversified than its initial salvo, the 1983 effort firmly established the band as new-wave pioneers-a group whose goofy playfulness, sharp hooks, brass accents, and memorable choruses helped define the decade's landscape. Any doubts about Men At Work's quirky sensibility were promptly answered by the iconic cover art gracing this multi-platinum set.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this LP not only brings the artwork back into full-scale glory but also takes the enjoyably melodic pop-rock to new sonic heights courtesy of improved imaging, separation, and balance. Previously obscured details jump to the surface, and leader Colin Hay's unique voice takes on life-like dimensions that hover between the speakers.

While remaining true to the approach that garnered them a Grammy Award for Best New Artist, Men at Work expands the creative palette on Cargo by giving guitars a more prominent role and increasing the rhythmic textures. With the sweeping ballad "Overkill" and politically savvy cynicism of "It's a Mistake," the band furthered their radio domination and extended their run of Top 10 singles. A third hit, "Dr. Heckyll and Mr. Jive," cracked the Top 30. Well-tailored melodies and whimsical imagination definitely had a place in the public's consciousness, and no group understood this more.

As the final album captured by the original lineup, Cargo remains an indelible piece of the 1980s audio terrain and a reminder of the era's endless fun. Bolstered by lively saxophone solos, self-effacing humor, and instantly catchy refrains, the album is as good as excuse as any to turn on the stereo, sit down, forget your worries, and dance to leisurely pursuits so perfectly captured by this beloved group.

This title is not eligible for further discount.

1. Dr. Heckyll and Mr. Jive2. Overkill3. Settle Down My Boy4. Upstairs In My House5. No Sign of Yesterday6. It's a Mistake7. High Wire8. Blue for You9. I Like To10. No Restrictions

Where Were You Then?

Further was a decidedly west coast indie rock band formed in Los Angeles in 1991 by brothers Darren and Brent Rademaker, Josh Schwartz and Kevin Fitzgerald. The Rademaker brothers along with Josh went on to form Beachwood Sparks and The Tyde respectively, Kevin Fitzgerald became the drummer for the Circle Jerks and the west coast lo-fi California indie rock sound actually became a thing with the kids. Overdosing on Weed, Surfing and Dinosaur Jrs You're Living All Over Me as well as flat out turning down major label offers, Further was fuelled by DIY spirit and their music tested the boundaries from the lowest of fidelity to the indie-est of rock...with re-leases on Bongload Records (home of Beck's Loser 12), their own Christmas Records, Ball Product (Creation Records), Fierce Panda and many more. Further received acclaim from the UK press including a 9 out of 10 review in the NME as well as Peel Session from long time fan John Peel. Further were a permanent fixtures on the LA indie scene where they shared bills with eve-ryone from the likes of Pavement, Beck, Flaming Lips, Mercury Rev, Royal Trux, Urge Overkill, Archers of Loaf, Codiene...real indie-rock, you get the picture? Friends of Lou Barlow from Dino-saur Jr, Further had a knack of exploding into Dinosaurs sonic territory. When Further went on tour with Sebadoh in the 90s, Lou was asked by the NME if he had anything to say to J Mas-cis...? Lou replied smugly...ever heard FURTHER? This record compiles the best of the singles and EP tracks from 1991 to 1997 all re-mastered from the original vinyl.

1. Filing Station 2. Over And Out 3. Generic 7 4. She Lives By The Castle 2 5. Surfing Pointers 6. California Bummer 7. Quiet Riot Grrrl 8. Springfiled Mods 9. Spheres of Influence 10. Wett Katt 11. I Wanna Be A Stranger 12. Be That As It May 13. Grandview Skyline

Gathering Mercury

Colin Hay may be best known as the lead singer for Men At Work, the platinum selling Australian band that topped worldwide charts in the 80s with anthems like "Down Under," "Overkill," and "Who Can It Be Now?" Hay's justifiably proud of his place in pop history, but since moving to Los Angeles in 1989, he's made 11 solo albums and is confident that Gathering Mercury is the best of the lot.

"These are some of the strongest songs I've ever written," Hay says from his home studio in the hills of Topanga Canyon. "The loss of my father last year brought an unavoidable emotional contingent to writing and recording. I don't have a definitive belief in an afterlife, but I do feel like I had his help when I was working on this album, especially alone late at night, in the studio."

Hay recorded and produced the ten songs on Gathering Mercury in his home studio, with the help of drummer Randy Cooke, bassist Joe Karnes, and guitarist Sean Woostenhulme, from his touring band and friends like bass player Jimmy Earl and pianist Jeff Babko from Jimmy Kimmel's band, drummer Charlie Paxson, Cuban percussionist Luis Conte (Madonna, Ray Charles) and his wife Cecilia Noel on backing vocals. The arrangements feature Hay's quizzical, instantly recognizable tenor supported by acoustic instruments and melodic electric guitar accents. The album was beautifully mixed by long time friend and composer/producer Chad Fischer.

"Send Somebody," the album's first single, was co-written with guitarist/songwriter Michael Georgiades, who provides not only the main chord structure, but the understated solo that sets up the song's touching bridge. The hypnotic pop melody is augmented by Fisher's work on piano, xylophone and drums. The tune was inspired by a late night phone conversation. "You call tech support one night around midnight and actually get a human being on the line," Hay explains. "The unexpected connection with a stranger is often easier to make than one with people you know. It brings up the longing for connection we all feel.

"Dear Father" is a poignant celtic folk-like tune with Hay's 12-string guitar and melancholy vocal taking center stage. Cellist Oliver Kraus overdubbed the burnished string section. "This song was written and recorded almost instantaneously, a gift from beyond, if you will. The night my father died, I was in Glasgow on the river Clyde, about 20 streets away from where he was born. There's some kind of bleak poetry in that, very bleak."

"Far From Home" has the reggae lilt of a contemporary Men At Work tune. Jeff Babko's Hammond B3, Cook's inspired drum part, and Hay's rhythm guitar add to the melody's hypnotic feel. "I don't know if it's reggae as such," Hay says. "But when I play electric guitar, the rhythm I feel is on the offbeat. It's my natural default."

Other standouts include Michael Georgiades' "Half a Million Angels," with sublime performances by all; the darkly humorous "A Simple Song," which deals with the complexities of long term relationships with Hay on mandola and the buoyant vaudeville tune "Where the Sky Is Blue," a song Hay imagined his father singing to his mother before they married.

The tunes on Gathering Mercury are deeply affecting, but never maudlin. Despite the often serious subject matter, they're full of optimism. "It's not a conscious thing and may have to do with the Scottish mentality. We deal with darkness by shining a light on it. It doesn't diminish the charge of the feeling, it just makes it easier to deal with."

Ironbound (Out of Stock)

Long considered the founding fathers of Thrash Metal, Overkill return with their heaviest record to date as they celebrate the bands 25th Anniversary. Packing an old school thrash punch, Ironbound from start to finish is their masterpiece says Metal Hammer and the best Overkill disc of the new millennium says Brave Words.

1. The Green And Black2. Ironbound3. Bring Me The Night4. The Goal Is Your Soul5. Give A Little6. Endless War7. The Head And Heart8. In Vain9. Killing For A Living10.The SRC

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